2017 marked the largest year-over-year increase in my CD collection, and the biggest recipient of that largesse is the Lifelong Thrift Shop.
I crunched the numbers, and the store provided 168 of the 458 items bought in 2017. At an average of $0.73 per CD and $1.46 per record, I contributed more than $130 to Lifelong coffers. I wouldn’t have made a charitable payroll deduction that large.
The Friends of the Seattle Public Library Book Sale is another source for discount music, and I parted with $75 of my cash to them.
Essentially, weekly visits to the thrift shop has crowded out my interest in new releases. That, and being old.
Art of Noise, In Visible Silence: This album started my fascination with the Art of Noise and, more importantly, introduced me to the term musique concrète. It was the weirdest album I encountered in my tween years, and it primed me to discover Kronos Quartet.
Wendy and Lisa, Eroica: A woefully underrated album.
k.d. lang, Ingenue: The MTV Unplugged bonus material didn’t seem like much of an enhancement on paper till you actually listen to it
The Smiths, The Queen Is Dead: The demos don’t stray too far from what eventually appeared on record, but it’s nice to hear how these tracks evolved.
Prince and the Revolution, Purple Rain: I have to admit I was more enamored of the Eroica reissue, despite the bonus material in this special edition.
Deee-Lite, World Clique: I’m usually not a fan of remixes, but the bonus disc on this special edition actually worked.
Moondog, Moondog: I had been curious about Moondog for a long time, and the Record Store Day reissue of his self-titled Columbia debut was a good excuse to fill in a gap finally.
Shawn Colvin, A Few Small Repairs: Yes, you can find this album at Lifelong for $1, but I still like it. And it’s on vinyl to boot!
Emmylou Harris and the Nash Ramblers, At the Ryman: OK, I ended up with two copies of this album on vinyl because I hadn’t anticipated I could get the Ryman special edition when I visited Nashville in August 2017.
Geinoh Yamashirogumi, Symphonic Suite AKIRA: The sequencing of the album had to change to accommodate the limitation of vinyl, but that doesn’t work against it.
Nakamori Akina, Fushigi: I have a number of middling Nakamori Akina albums,
so out of curiosity, I did a search for what’s considered her best work. I wasn’t expecting an album that actually gets nods by the American indie music press. It puts to rest who I like better in the Akina vs. Seiko debate.
The Streets, Original Pirate Material: I so dug “Geezers Need Excitement”, I used it as part of an assignment for an ear training/sight singing class I’m taking.
New York Dolls, New York Dolls: I picked this album up from Lifelong Thrift Shop purely on reputation, and I didn’t expect how prescient it was.
Loretta Lynn, Don’t Come Home a Drinkin’ (With Lovin’ on Your Mind): Don’t let the country weepies fool you — this album is all about how women have to be strong because men are just no good.
Perfume, GAME: It took nearly a decade for me to discover the sublimity of “Polyrhythm.”
The Roots, Game Theory: I want to call this album punk AF.
Low, Things We Lost in the Fire: I’m not sure how much further I want to explore the Low catalog.
Midnight Oil, Head Injuries: For the American Midnight Oil fan who wants to reach back into the Australian catalog, this album is where to start.
Charles Mingus, The Black Saint and the Sinner Lady: Similarly, I’m not sure how much further I want to explore Mingus after hearing this work. I feel everything else would pale by comparison.
Weezer, Pinkerton: This album is the one to own if you can’t stand Weezer fans.
I don’t think I’d mind Weezer if it weren’t for the fans.
Back in 2008, I wrote a series of entries detailing my favorite albums from various decades. For the longest time, I held an incredibly dim view of 1992. Compared the years preceding and following, 1992 felt like a creative malaise had spread throughout the music industry.
Bands that used to be underground found themselves to be popular, and under this newfound, wide-scale scrutiny, some of them cracked.
Or so I thought.
I had only turned 20 years old, an age when the dopamine hit from discovering new music left a neophyte intoxicated. I wanted every album to matter, and the ones that didn’t received a harsh judgment.
Twenty-five years later, I’ve got more of an education on where 1992 fit in the larger scheme of things, and of course, I got it wrong. This old entry details all the ways I got it wrong. So let’s make it right.
Here’s a revised list of the Favorite Edition 1992.
Wayne Horvitz/The President, Miracle Mile
Máire Brennan, Máire
Henryk Górecki, Symphony No. 3 (Dawn Upshaw, David Zinman, London Sinfonietta)
k.d. lang, Ingenue
Sade, Love Deluxe
En Vogue, Funky Divas
Prince and the New Power Generation, 0(+> (Love Symbol Album)
Emmylou Harris and the Nash Ramblers, At the Ryman
Kronos Quartet, Pieces of Africa
Robin Holcomb, Rockabye
The Sugarcubes, Stick Around for Joy
Faith No More, Angel Dust
Sonic Youth, Dirty
The original list stopped at five items, with a longer list of albums accompanied by explanations for why they weren’t favorites. In some cases, I’ve completely changed my mind.
At the time, Love Deluxe was such a drastic turn for Sade that I thought something went wrong. It would take another 18 years for Love Deluxe to reveal itself as the start of a new creative era, one marked by extreme pauses between albums. This early ’90s album shares more with its successors in 2000 and 2010 than it did with 1988’s Stronger than Pride.
I also got a chance to revisit Ingenue after the entry was written, and it’s place on the favorite list is well anchored.
Other albums would not have appeared on the list at the time it was written. Prince was unexplored territory for me in 2008, so I wouldn’t have even thought to include the Love Symbol album. En Vogue wouldn’t have gotten past my raging rock snobbery.
The rest of the albums on the list could have only been included after much research. Dirty makes a lot more sense if a Sonic Youth novice also considers Sister and EVOL. At the Ryman would not make sense to someone who’s only exposure to Emmylou Harris was Wrecking Ball.
Even after posting a preview of June, more titles were announced as May wore on. Seriously, labels, why are you all putting all this stuff out in one month? You got 12 from which to choose.
Beth Ditto, Fake Sugar, June 16
I was sad to see Gossip split up, but it did feel like the group had gone as far as it could.
Wendy and Lisa, Eroica (Deluxe Edition), June 16
I was wondering when a deluxe edition of this album would appear. Even Fruit at the Bottom got a deluxe treatment.
Onitsuka Chihiro, Tiny Screams, June 21
Onitsuka Chihiro has released a number of live DVDs, but Tiny Screams is her first live album.
Prince and the Revolution, Purple Rain (Deluxe Edition), June 23
Of course, I’ll be getting this reissue, but the deluxe edition on my wish list is Parade.
Radiohead, OK Computer OKNOTOK, June 23
I picked this album up for $1 at the Seattle Public Library Book Sale back in March 2017 in an attempt to understand its appeal. I’ve encountered OK Computer over the years, but it has never left enough of an impression with me to warrant its unadulterated praise.
TLC, TLC, June 30
How is it I own every TLC album except Ooooh, On the TLC Tip!?
LOVE PSYCHEDELICO, Love Your Love, July 5
It’s been four years since Delico released an album, but the duo has never seen the need to rush.
k.d. lang, Ingenue (25th Anniversary Edition), July 14 (Vinyl, Aug. 18)
File under: The one album you would own of an artist if you bought nothing else from that artist.
Arcade Fire, Everything Now, July 28
I ended up at an Arcade Fire concert because I wanted to see Explosions in the Sky. It was one of the best live shows I’ve seen. But the only album I really own is Funeral.
Anne Dudley, Plays the Art of Noise, TBD (US/UK, out now in Japan)
Art of Noise was always so coy about who did what, but in those early years, I had inkling Anne Dudley brought in the music, while everyone else brought in the noise. Later interviews would confirm that was exactly the case.
The Cranberries, Everyone Else Is Doing It, So Why Can’t We?, June 16
The soundtrack to romantic comedy movie trailers.
Helmet, Meantime, June 23
I remember reading about the bidding war to sign Helmet to a major label deal. I bought the album out of curiosity and wondered how Interscope was going to recoup its advance.
Emmylou Harris, Pieces of the Sky, July 5
Emmylou Harris, Elite Hotel, July 5
Emmylou Harris, Luxury Liner, July 5
Emmylou Harris, Quarter Moon in a Ten Cent Town, July 5
Emmylou Harris, Blue Kentucky Girl, July 5
Did you miss out on the Record Store Day boxed set, Queen of the Silver Dollar? It looks like the box is being broken out into individual releases. Or you can find fairly decent used copies of these albums for a bargain.
Soundtrack, Pride and Prejudice, July 7
The soundtrack to the film with Keira Knightley is actually pretty good, but like everything else about Pride and Prejudice, it’s not as good as the BBC mini-series.
Beyoncé, Lemonade, July 28
Unofficial pressings of this album have been in local record shops for a while now.
It seems all the bands in which I’m interested all decided to release their albums in May and June. To date, I have a total of four 2017 releases since the start of the year. Putting together the Favorite Edition Half Year is going to be tricky.
At the Drive-In, in*ter al*li*a, May 5
I can’t figure out why I’m looking forward this late-coming follow-up to Relationship of Command, an album I like but can’t listen to very often. And I wasn’t enough of a fan to follow either Mars Volta or Sparta.
Café Tacvba, Jei Beibi, May 5
I find it interesting that Café Tacvba is releasing this album through CD Baby. That means they’ve gone completely independent.
Midnight Oil, Full Tank, May 7
Midnight Oil, Overflow Tank, May 7
Tempting as these complete boxed sets may be, my current Midnight Oil collection occupies quite a bit of shelf space. Also, the import markup makes these sets fiscally untenable. Hey Sony, fans outside of Australia might be interested in some of these releases.
Juanes, Mis Planes Son Amarte, May 12
It’s a visual album about a man going into outer space to find the woman of his dreams. I would be interested to see how Café Tacvba would tackle the same plot.
PWR BTTM, Pageant, May 12
Anyone who has Grindr or Scruff installed on his phone would probably check out a band called PWR BTTM.
Art of Noise, In Visible Silence (Deluxe Edition), May 19
The weirdest album I acquired in 1986. The b-sides are terrific.
Kishida Shigeru, Symphony No. 1, May 24
If the orchestral work Kishida released last year as a digital single is any indication, don’t expect a musical metamorphosis on the level of C. Kip Winger.
Sam Amidon, The Following Mountain, May 26
His first album of original music.
Cody Chesnutt, My Love Divine Degree, June 2
It’s been a while. I had wondered if another 10 years would pass before another Cody Chesnutt album would arrive.
U2, The Joshua Tree (30th Anniversary Deluxe Edition), June 2
I already have the 20th Anniversary edition, so really, I just want the white cover with the color photo.
Kronos Quartet, Folk Songs, June 9
For a while there, I thought Kronos had moved on from Nonesuch, given the number of albums the ensemble has released on other labels. This collaborative album with Sam Amidon, Natalie Merchant, Rhiannon Giddens and Olivia Chaney is the first Kronos has released on Nonesuch since 2012, not counting various anthologies.
Dan Messe, Amelie: A New Musical, June 9
I’m not sure what draws me to this cast recording — the fact it’s based on Amelie or the fact it was written by a member of Hem.
Sufjan Stevens, Bryce Dessner, Nico Muhly, James McAlister, Planetarium, June 9
Well, somebody had to update Gustav Mahler’s The Planets …
The Drums, Abysmal Thoughts, June 16
Jonny Pierce goes full Roland Orzabal ca. 1993, becoming the sole member of his band The Drums.
Jason Isbell and 400 Unit, The Nashville Sound, June 16
I would be OK with Jason Isbell and Sturgill Simpson releasing albums on alternating years.
Midnight Oil, The Vinyl Collection, May 7
I would like to get Redneck Wonderland, Breathe and Head Injuries on vinyl. I could do without Capricornia, Earth and Sun and Moon and Place Without a Postcard. Maybe separate releases down the line? Outside Australia, even??
Emmylou Harris and the Nash Ramblers, At the Ryman, May 12
Harris’ shows at the Ryman gave the venue new life, and she returns for the venue’s 125th anniversary. So of course a reissue (on vinyl!) is in order.
En Vogue, Funky Divas, June 9
I’m disappointed rock bands haven’t turned “Free Your Mind” into a crossover classic.
Enya, A Day Without Rain, June 16
Enya, Amaratine, July 14
A Day Without Rain is Enya’s weakest album, and Amaratine went a long way to rectify it. That won’t stop me from getting both of them.
An analysis of Spotify data in 2015 quantified how listeners stray from popular titles as they age. I don’t know if the music I listened to in my 20s could have ever been called “popular”, but compared to the excitement of discovery in the ’80s, the ’90s were bit of a let-down.
Grunge was conflated to represent all forms of post-punk music, and the major label gold rush to find the next Nirvana eventually dead-ended into Nickelback. In response, I took up Celtic music, downtown New York jazz, modern classical music, Japanese indie rock and country music.
I was at sea.
Shiina Ringo, Shousou Strip
Sure, the loud guitars, infectious melodies and epic production could have won me over, but it was the conclusion of “Gibusu” where the effects go utterly bugfuck that convinced me Shiina Ringo was a keeper.
NUMBER GIRL, SCHOOL GIRL DISTORTIONAL ADDICT
I may have eventually found my way to Sonic Youth and Pixies by some other means, but it was NUMBER GIRL that was my gateway to old school punk.
Madonna, Ray of Light
This album arrived when I was exploring the gay bars in Austin after I moved away from home. I still like this album. I cannot say the same for gay bars or Austin.
Neutral Milk Hotel, In the Aeroplane Over the Sea
Like probably most people who love this album to death, I didn’t discover it till about many, many years after it was released. But it has enough of a late-’90s patina to evoke that period.
The few articles about Cocco translated into English I found on the Internet at the time seemed to credit her for paving the way for Utada Hikaru and Shiina Ringo, and we should all be thankful for that.
Steve Reich, Music for 18 Musicians (Nonesuch)
I wouldn’t encounter this 1996 Nonesuch recording till it was compiled in a 2005 boxed set. Philip Glass was waning as my favorite minimalist, and this recording pretty much catapulted Reich to the top.
Emmylou Harris, Wrecking Ball
The only people in Hawaii who listened to country music lived on the military bases. But a interview promo disc of Emmylou Harris talking about Wrecking Ball got me interested in the album. It made my move to Austin, Texas two years later slightly more plausible.
Talitha Mackenzie, Solas
As much I loved Clannad and Enya, Talitha Mackenzie drew the connections between Scottish waulking songs and hip-hop, Bulgarian folk music and techno.
Duran Duran, The Wedding Album
It was great seeing people getting back into Duran Duran, but I don’t think my love for this album would have been reinforced without the aid of the Tiger Mailing List, the first Internet community in which I participated.
Smashing Pumpkins, Gish
Nevermind would have been the easy choice, but I would have never picked up the seminal Nirvana album if Butch Vig hadn’t worked with Smashing Pumpkins on Gish beforehand.
Well, Frank Ocean finally dropped his much anticipated album Blonde. I think the fall 2016 release schedule can get drunk and go home now.
John Adams, Scheherezade.2, Sept. 30
John Adams brought Scheherezade.2 to the Seattle Symphony last season. Leila Josefowicz must have dropped some mean gauntlet for Adams to create a work of such athleticism. I’m not sure if I absorbed enough of the piece in the concert hall because that was a lot of music.
Steve Reich, The ECM Recordings, Sept. 30
From what I can tell on Amazon, this reissue of Steve Reich’s albums on ECM won’t split the movements of each work into individual tracks. That would seem to be an important oversight to correct on a reissue.
MONO, Requiem for Hell, Oct. 14, 2016
Reports indicate the orchestras are on their way back on this album.
Nico Muhly and Tietur, Confessions, Oct. 21
Songs inspired by YouTube comments performed by a Baroque ensemble — if anyone can make this premise work, it’s Nico Muhly.
Shaprece, COALS, Oct. 28
Shaprece’s performance with Seattle Symphony was riveting, and I’ve been looking forward to this album since.
Ty Herndon, House on Fire, Nov. 11
Ty Herndon announced this album was to be released back in May when he performed in Seattle back in February, but now it looks like he has some label interest. No date has been specified for the release.UPDATE, 09/11/2016: Herndon announced a release date of Nov. 11, 2016, with pre-orders starting on Oct. 11, i.e. National Coming Out Day.
Angelo Badalamanti, Music from Twin Peaks, Sept. 9
I can’t hear that descending/ascending bass line without picturing the dancing little man.
Madonna, Something to Remember, Sept. 13
Ray of Light seems to have dropped off the release schedule for now with Something to Remember taking its place.
Emmylou Harris, Red Dirt Girl, Sept. 23
Like Wrecking Ball before it, Red Dirt Girl was a pivotal album for Emmylou Harris, marking her transition from interpreter to songwriter.
Kronos Quartet, Pieces of Africa, Sept. 23
I’m hoping this release is the first in a series of Kronos Quartet vinyl reissues because I’m not yet in the financial straits to track down the European pressing of Black Angels.
Duran Duran, The Wedding Album, Sept. 23
This reissue was actually listed for a March release, which came and went without notice. Then it popped back up for September.
Sting, The Studio Collection, Sept. 30
Brand New Day and Sacred Love make their first appearance on vinyl, but the only album I’m really interested in is Ten Summoner’s Tales, a European release of which I can still snag online.
Why should I be surprised the vinyl bug that bit me hard in 2013 has expanded its scope to include reissues never released on vinyl? It’s because I’ve already back-filled my pre-owned collection, and I still can’t get enough. Record Store Day doesn’t make it any easier.
Guided By Voices, Please Be Honest, April 22
Back again? Oh, it’s another configuration.
Dolly Parton / Emmylou Harris / Linda Ronstadt, Complete Trio Collection, Sept. 9
Finally! This reissue was rumored to be available back in October 2015, on the same day as Henryk Górecki’s Symphony No. 4. Now it’s turned into a bigger deal, with simultaneous vinyl releases.
Lin-Manuel Miranada, Hamilton, April 15
This musical is more than two-hours long. I don’t think it’s all going to fit on two LPs.
Sonic Youth, Murray Street, April 22
I remember this album getting overplayed on the Waterloo Records in-store stereo system. I think it’s why I sold it for cash after a few years.
Rufus Wainwright, Poses, May 6
I didn’t like Rufus Wainwright at first. His nasal voice is an acquired taste, but the writing on Poses won me over, and I’ve been a fan ever since. This album appears on vinyl for the first time.
Moby, Play, May 13
I haven’t listened to this album in more than 15 years. I didn’t really need to because it wasn’t licensed to holy hell at the time.
Dolly Parton / Emmylou Harris / Linda Ronstadt, Trio II, Sept. 9
At the time this album was released, it seemed the trio couldn’t really give it a heavy promotional push. I remember one TV appearance where Linda Ronstadt lost it, and then everyone was back to boy bands and pop idols.
Record Store Day
Emmylou Harris, Wrecking Ball
Why limit this album to Record Store Day? Really, it should just be in print on vinyl. Period.
Clint Mansell / Kronos Quartet, Requiem for a Dream
I saw Requiem for a Dream with some friends during its theatrical release. I left the theater recognizing it was a good film. I just didn’t like it. I don’t own the soundtrack, and while I collect Kronos on vinyl when I can, I’m pretty ambivalent about this release.
Death Cab for Cutie, “Tractor Rape Chain / Black Sun”
I was nicely surprised by Death Cab for Cutie’s cover of “Bad Reputation” by Freedy Johnston. “Tractor Rape Chain” is also one my favorite Guided By Voices songs.
Shadowy Men on a Shadowy Planet, I Guess We’re a Fucking Surf Band After All
I have no doubts I won’t get my hands on this release, but I’m only interested in Savvy Show Stoppers. I hope at some point Yep Roc splits this box set into individual reissues.
Concert reviews were always something I wanted to write for this site, but I never drummed up the gumption to jot down my thoughts about shows after I attend them. In reality, I didn’t want shows to become means to an end, in the same way album purchases had become source for reviews.
Still, I go to a lot of concerts, and it feels awkward not mentioning them at least once.
So I’m going to do a year-end overview of all the shows I’ve attended in the past year.
No sooner did I bemoan the lack of November releases that I found myself adding a whole bunch of November releases to my wish list.
Enya, Dark Sky Island, Nov. 20
Enya usually takes about 3 to 5 years to turn around new albums, so the 7-year gap between 2008’s And Winter Came and Dark Sky Island is her longest stretch. The announcement was pretty sudden, and I certainly wouldn’t have learned about it had I not visited her official site on a total whim.
Björk, Vulnicura Strings, Nov. 27
Vulnicura has a pretty secure spot on the year-end Favorite Edition list, but it’ll be interesting to see whether Vulnicura Strings dislodges its predecessor from that spot.
Inventions, Blanket Waves, Nov. 13
Inventions is certainly turning out to be a prolific project for Matthew Cooper and Mark Smith. This 10-inch vinyl EP is the second release from the pair this year.
Nirvana, Nirvana, Nov. 13
The 2002 self-titled compilation gets reissued on Blu-Ray audio and vinyl.
Dolly Parton / Linda Ronstadt / Emmylou Harris, Complete Trio Collection
Early reports indicated this compilation would be released on Oct. 16, but then it fell off the release schedule with no indication of a new date.
Frank Ocean, Boys Don’t Cry
Frank Ocean hinted at a July release for his second album, and then, he fell off the face of the planet. He canceled some scheduled appearances, and July has long passed.
No one has really asked me this question, and from what I gather, I’m supposed to turn this question around and ask the (presumably heterosexual) asker, “How did you know you were straight?”
But my answer to the question would be pretty easy to track through the music I was listening to at the cusp of adolescence. It shouldn’t be a surprise that the I gravitated toward bands with handsome singers — your Simon Le Bons, your Huey Lewises, your Stings, your Bruce Springsteens.
I didn’t connect the growing fascination I had for these pop idols with the orientation my sexuality would eventually align because the curriculum of my Catholic education was clear — I was fated to develop an attraction to women because any alternative would be unacceptable.
So I used music as a cover. Yes, I dug the songs, but they weren’t the only draw.
Exhibit A: Sting, “Love is the Seventh Wave”
The back cover of this single had Sting posing without a shirt, and I couldn’t tear my eyes away. My household toed the homophobic line because my parents were devoutly Catholic and my brother and sisters weren’t old enough to come to their conclusions. So I would sneak peeks at this image surreptitiously, not exploring why I was so powerfully drawn to it.
Technically, my brother owned that 7-inch single, and he called dibs on Sting in our Sibling Rivalry Collection Race. My hormones would not be denied, and I wrestled Sting from his monopoly. I dubbed his Sting albums to cassette without his permission, and I played “Russians” at my first piano recital.
The Dream of the Blue Turtles and … Nothing Like the Sun are awesome albums in their own right, but I could count on the music press to include a few pictures of Sting stripped to the waist.
Exhibit B: Midnight Oil, Blue Sky Mining
I didn’t actually like Midnight Oil when a pair of friends subjected me to Diesel and Dust in the car as we drove around town. But I eventually adjusted to Peter Garrett’s warble, and the songcraft of the album won me over.
One of the friends who introduced me to Midnight Oil would be the first person with whom I’d fall in love. I remember one night dropping him off at his house after a night out and driving back, mumbling to myself that I loved him. I can’t remember another time when I felt both solace and burden in a single thought.
Blue Sky Mining followed Diesel and Dust two years later, by which time my feelings for my friend made senior year in high school a slog. I listened to the album day in and day out because I had to escape into something that linked me to him. And I could use my growing interest in college rock as another cover.
Exhibit C: R.E.M., “Country Feedback”
My friend went to the Mainland for college, and I stayed in Honolulu. During my first semester, I would play Out of Time by R.E.M. every morning, and the track that summed up my depression was “Country Feedback”. The track is slow and quiet, but Michael Stipe tosses out the phrase “fuck off” at the midpoint of the song with conviction. I was pissed off at having a broken heart but also sad by the implications of who broke it.
Exhibit D: Haruki Murakami, Hear the Wind Sing
No, Hear the Wind Sing is not an album. It’s a novel. A Haruki Murakami novel, to be exact.
But it was a novel that served as the basis for an electronic song I wrote hoping to convince a guy I had a crush on to sing it. He couldn’t find the time to do it.
It had been a year since I returned from New York City, and I still wasn’t ready to accept the obvious direction of my sexual orientation. So something like writing a song hoping to get a guy I liked to sing it was just a totally rational thing for someone in my state of mind to do.
It took another 13 years before I transposed it to my own range, recorded it and sang it myself with much assistance by pitch-correction software.
Exhibit E: Emmylou Harris, Wrecking Ball
Emmylou Harris’ label directed its press efforts for her 1995 album Wrecking Ball to colleges and independent music outlets instead of country radio because it was her “weird album”. I snagged a promo of the album and fell in love with it.
The arrival of Wrecking Ball happened at the same time I wrote articles about National Coming Out Day, which resulted in my own. The two events are indelibly entwined. But I can’t think of a better album to serve as a soundtrack for that change.
It’s a dark, brooding album but also beautiful. I was still intimidated by the process of coming out, so I can’t say I look back on it as bright and joyous. I had a lot of work to do introspectively, and Wrecking Ball reflected that.
The album pretty much transformed Harris’ career, reaching a new audience as the old one moved on. It was certainly my pivot point as well.